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pftirateii to Simuauittj 





Man is the highest expression of life; and 
he who understands man understands all 
things. 

The human form, instinct with holy life, 
and harmoniously combined in expression, 
is the Art of Arts. 

Breath is life, the first and last act in life, 
and, therefore, the most important of all 
acts in life. 

The greatest instrument of all instru¬ 
ments is the Human Voice, where technique, 
awakened soul, truth and love are harmoni¬ 
ously combined. 


‘HOW TO BREATH*' 

BREATH IS LIFE 

“HOW TO STAND*' 

HE IS EVER A MAN WHO STANDS 
LIKE ONE 

“HOW to WALK*' 

IT IS YOUR CHARACTER 


'HOW TO SIT" 

IT EXPRESSES YOU 


"HOW TO TALK 


VOICE IS THE EXPRESSION OF 
THE SOUL 


IHufcy fuuriiHf 


How do you look? 

What do you exj^ress? 

Do you stand erect? 

Do you walk properly? 

Do you breathe through your mouth ? 

Do you express the thought you wish to 
convey ? 


How about the smile? Is it a grimace? 



leauttful 












Slip Upaultful” 


♦ * 


MUST urge that if we today knew 
what the result would be if we gave 
more care, thought and time along these 
lines, we would no longer neglect them and 
sickness would be a thing of the past. 


For instance, look at the woman or man 
whose figure is bent, stooped, or generally 
out of shape, and note the drawn, pinched 
look on her or his face, which demonstrates 
a miserable existence and slavery. And, 
they, indeed, are slaves—slaves to their own 
bodies, which master and impress the mind 
and Soul. 



•* alu' UUumltful~ 


The three, Mind, Body and Soul, must 
work in harmony to be complete* 

First, we must take our bodies in hand and 
make them do as we will them to do. With 
this accomplished we are then ready to take 
up expression, working through mind and 
body for grace and beauty. “Thee Beau¬ 
tiful.” 

My dear sister, all the beautiful gowns 
and adornments will not make you beautiful. 
Not even a good figure will make you beau¬ 
tiful, if the grace of expression is lacking. 
Our beautiful faced sister may raise her 
hand, and immediately we note the lack of 


U>ljr Ibauiiful ” 


charm—or still worse, if she walks across 
the room. 

I sometimes wonder which are the most 
ridiculous, the savages with the rings in nose 
and ears, but with beautiful lines of figure, 
or our presumably civilized beings elabo¬ 
rately gowned and be jeweled, whose faces 
are pinched and drawn, with bodies out of 
shape and harmony. 

No, there is no use, gowns and jewels will 
never do it. No matter how beautiful the 
dress may be, if you walk incorrectly, stand 
improperly, the effect is the same. 


" u,hr ISwwtiful ” 


Of course, we cannot all have perfect or 
beautiful bodies, but we can all attain per¬ 
fect harmony, and work for that great goal 
beyond, CHARM, that something which we 
cannot place or label, “Thee Beautiful.” 


am to Hrpath? 























REATH IS LIFE. How many of 
us really grasp the meaning of these 
three words ? Breath is life; then to breathe 
is to live. Surely a great many of us have 
never really given it a thought. Think of 
it; air is, I believe, the only thing in life we 
can have all we want of without having to 
pay some one for it. It is given to us free. 
It is all about us, and all we have to do is 
.just to take it. 

I am sorry to note that so many people 
forget to breath plentifully, and, therefore, 
have but very little use for those wonderful 
organs, the lungs. 

Consumption would be a thing of the past 
if people would only breathe properly. Lack 
of correct breathing is the means of keeping 






“ iijmu an Smtlljt' ” 


the doctor busy treating consumption, and 
many other diseases. 

Teach the child the importance of correct 
breathing, and, if not too late, but better late 
than never, learn how yourself. 

See to it that the air you breathe is fresh, 
sweet and clean; and have plenty of sun¬ 
shine with it, for it takes sunshine to purify 
the air. 

It is dreadful to think of the air some peo¬ 
ple breathe. Perhaps you have called on 
neighbors and friends, and found them ap¬ 
parently happy, shut up in a house, flat or 
office, where the air was absolutely foul— 
not a window open. Oh, if people would 
only stop and think and go to the bottom 
of things. 


" Bum QJu Brratljr ” 


So few people breathe correctly; they 
have never been taught how to breathe, as 
their mothers and fathers never knew how 
to breathe correctly. As breath is life, we 
should know just a little about the same, so 
we can live; and in knowing how to breathe 
life becomes a pleasure. 


One of the awful habits is mouth breath¬ 
ing; see the awful face, which looks silly in 
youth and terrible in old age. So many 
diseases of the throat, teeth, and even lungs, 
are the results of mouth breathing. The 
nose is for that purpose, and how few x>eople 
seem to know it. They allow all sorts of 
growths to start in the nose, and the result 
is sickness and deformity. 


" limn an Urrutiir ” 
THE COERECT BREATH 


There is what the so-called, schools call 
high chest breathing, diaphragm breathing 
and abdominal breathing, but to me there is 
just one kind of breathing, and that is, com¬ 
bining the three into the “Grand One,” and 
calling it “CORRECT BREATHING,” us¬ 
ing not only part of the lungs, but all of 
them rhythmically in one harmonious swell. 


2\ulr:- 

After taking standing position No. 1, 
draw in the muscles of the abdomen firm, 
and expand at diaphragm, filling the lungs; 
and in that way filling the lungs from dia¬ 
phragm to apex. 

Take the above directions, and fill the 
lungs on the count one to ten. 


" ffimit En Hrratlje ” 

Exhale on count one to ten, starting with 
apex. 

A good way to breathe is to walk and keep 
time in harmony with the count and breath. 
The count must be even. 

There is great danger in first taking the 
breathing exercises, and therefore, care 
must be taken that the breath is not held 
too long. 

THE CIRCULAR BREATH, OR TEST¬ 
ING THE LUNGS 

Exhale, or empty the lungs completely, 
then hold the index finger of the right hand 
over the left nostril and inhale; then repeat, 
holding the index finger of the left hand over 
the right nostril. Inhale until lungs are 
full; after filling lungs exhale in same man¬ 


ner. 


" Tiuuu (i;n Smilin' 


WHAT TO AVOID 


*1 incorrect breathing. 

Mouth breathing; the nose is for that pur¬ 
pose, use it. 

Pulling the breath in with the lungs; the 
nostrils are for that purpose. 

Breathing with one nostril; you have two, 
use them both. 

Making any sound while breathing. It is 
a sign of a tense throat and unrelaxed mus¬ 
cles. 

<1 Breathing impure air. 

9 Sleeping in a close room; sleep out of 
doors, or keep your windows open. 

*1 Avoid taking short gasping breaths, the 
breath should be smooth, even and harmoni¬ 
ous. 



out tu #tani 





“ihnu to i>tanii 


0 much could be said on this subject, 
but I will only speak of the most 
important points in this article. 

A great deal of trouble is caused by not 
standing properly. 

By standing with the weight on the heels 
the spine is jarred, and many nervous dis¬ 
eases are caused. Therefore, this is a fault 
to be avoided. 

Loose and bent knees make one look weak 
and foolish. 

Knees far apart are still worse—gives one 
that drunken look. 

Then look at the pigeon-toed man or 
woman, and note their appearance. 



“ $imit an mb 


If it were only looks alone it would not 
be of such consequence. But the trouble is, 
that it effects the brain and mind, and makes 
the man, perhaps, do and act, just as the 
body expresses him. 

Abiumtnt:- 

And what can one say of the abdomen? 

This is a great point, and one so much neg¬ 
lected. If people only understood this most 
important fact there would not be nearly so 
much trouble of the abdomen. 

Nearly all of the trouble is caused by a 
relaxation of the muscles of the abdomen 
until they drop, and have not the elasticity 
to do the work required of them. In conse- 


" i^mvr ” 


quence, we have the man or woman with the 
big abdomen, and heavy, dragging feet. A 
personality surely not pleasing. 

(Eljmt:- 

If the chest were taken care of and prop¬ 
erly carried we would not have so much con¬ 
sumption in the world, and many other 
diseases. 

A dropping chest is as bad as a relexed 
abdomen, and causes just as many diseases. 
Therefore, great care should be taken that 
the chest is at all times well up and out. 

In ordinary standing the shoulders should 
be relaxed and not held up as though you 


“ ffimtt an Bdauii ” 


were ready to fight. Nor should they be held 
too far back, which gives that straight, 
board-like appearance; or, in other words, 
a stiff, poker back. 

I believe that stooped or round shoulders 
would be more pleasing. 

The shoulders should be relaxed and easy 
at all times. 

AnttH:- 

Crooked or stiff arms are bad, and must 
be avoided. 

The arms should be relaxed, and dangling 
from the shoulders. 

Elbows should be straight; few elbows are 
straight. 


$jmu (2>0 8 >tanh ” 


i^anite:- 

The hands must never be stiff or firm, but 
relaxed and easy. They should hang with¬ 
out tension. 

Sfraih- 

The head should set straight on neck and 
shoulders. 

Few heads are straight; they are either a 
little too much to the left, or right, or worse 
still, lying down on the chest. You hardly 
ever see one too far back, which would really 
be a good fault. 

Many trouble of the throat and head would 
be a thing of the past if the head were well 
poised. 


“ limit an 


Also, many troubles would be avoided if 
people would close their mouths, or in clos¬ 
ing would not stiffen the head and neck, but 
just do it easily and naturally. 

But first of all, WE MUST LEARN TO 
STAND ON OUR MUSCLES, NOT ON 
OUR BONES. 

Any one standing on his HEELS, stands 
on his BONES, and, therefore, cannot be 
healthy nor graceful; and he will be alto¬ 
gether out of harmony with the natural laws 
of Nature. 

So then, first of all, we must stand on the 
MUSCLES, which means BALLS of the 


“ Siam an S>tanb 


feet, and so get our poise. 

The rule I give here cannot fail if prac¬ 
ticed. 

This rule only applies to correct standing, 
and the position of the body, as it should be 
held, before attempting to express yourself 
either in standing or walking. 

i&niv Xu. 1 

Stand with body erect; heels and knees 
close together; toes slightly turned out. 

The weight of the body should be balanced 
on the inner balls of the feet. 

Ankles and knees should be firm, yet easy, 
and straight in the joints. 


“ Bmu an ^timh ” 


Hips should be well out, and support the 
upper part of the body without far from the 
hip joints. 

The abdomenal muscles should be well 
drawn in and firm. 

The chest should be well up and out. 

The shoulders and arm relaxed. 

The whole body should be held up from 
the ankles and chest. 

The toes should be free and easy. 

The heels should touch very easily. 


®oro (Tn %>t<\nb ” 


The full weight should be on the balls of 
the feet (inner side). 

ffiuk No. 3 iExpri'BfiittQ Srfumimtt 

First, take standing position as given in 
Rule No. 1; then throw weight on retired 
leg, retired knee firm and straight, advanced 
knee slightly bent, 

ffiulr No. 3 Exproamtuj Slrat 

First, take standing position as given in 
Rule No. 1; then throw weight on advanced 
leg, in lateral direction. 


“ limit an 


fk/ _ # i 


*3 Standing with weight on heels. 

<3 Standing with weight on outer side of feet. 
Standing with bent and loose knees. 
Standing with knees far apart. 

9 Standing with feet far apart. 

9 Standing with loose joints. 

*3 Standing with abdomen out, and relaxed. 
<3 Standing with hips forward. 

*5 Standing with dropped chest. 

*3 Standing with stiff shoulders. 

*3 Standing with stiff arms. 

<3 Standing with dropped head, or to one side. 
*3 Standing on one foot. 

*3 Standing with body out of shape in gen¬ 
eral. 



ttf i® a Ik 







“iiflui din Balk 


SuU:- 

®akr pnmtum afi giant ttt Sul? 

»o. 1 


H HEN swing right leg forward from 
the hip, stepping on the inner ball 
of the foot with the weight of the body, toes 
slightly turned out, at the same time straight¬ 
ening the knee. 

The left foot should rest on the ball, with 
knee slightly bent. 

Hold body erect from the hips without 


sway or jar. 


“ $J0W 0,0 Ifialk ” 


Bepeat step. 

The length of the step should be the length 
of the foot. This rule applies to all except 
the extreme tall, where the step is lengthened 
according to the height. 

Hold the muscles of the abdomen firm, as 
in standing. 

Walk with chest leading the body. Sort 
of hitch yourself to the stars with the ster¬ 


num. 


“ Sima En Walk ” 


Carry the head well up, and look people 
squarely in the face. 

Walk on the MUSCLES, which means 
BALLS of the FEET. 

The locomotion should be harmonious. 

A good way to walk is to count from one 
to ten, keeping time with the feet, at the 
same time breathing harmoniously with the 
count. 

And in this way obtaining harmony of 
Body, Mind and Soul. 


** Bflui (1/0 Walk ” 


WHAT TO AVOID 

The pigeon-toed walk. 

The billowy sailor walk. 

<1 The hip twist walk. 

*1 The swaying walk. 

The shoulder walk. 

q The swaggering walk; which is charac¬ 
teristic of the braggart. 

<1 The shuffling walk; which is characteris¬ 
tic of laziness , or of lack of energy. 

<1 The shackling walk. 

Dragging the feet; characteristic laggard. 
Walking with feet far apart. 

Walking with weight on one leg. 

<1 Splay walk (toes turned very far out). 


" Siuw &u Halk ” 


^ Walking with a general shaking of the 
body. 

*! Walking with weight on heels. 

9 Carrying the head on the chest, or to one 
side. 

Walking on your bones (which means 
your HEELS). 

But walk on the MUSCLES, which means 
the BALLS of the FEET, mMi m&mg. 

9 Walking with your mouth open, or shut 


too tightly. 




















to & it 











"iiflui tu i>it” 


fiuU':- 


FTER taking position given in Rule 
No. 1 for standing, put one foot just 


a little before the other, then draw in the 
muscles of the abdomen and hold until 
seated. 


Sit with both feet on the door, one foot 
just a little before the other, with toes slight¬ 
ly turned out. 

Knees should be rather close together. 





“ i^nui Cl-u S’tt ” 


Chest should be well up and shoulders 
relaxed. 

The head should be well up and easy. 

Hands relaxed. 

Sit on MUSCLES. 

One should be able to sway from side to 
side to and fro from hip joints without jar. 


WHAT TO AVOID 


*1 Sitting on the lower edge of the spine . 

<3 Sitting on middle of back; in other words, 
don’t sit with a bent spine or body out of 
shape in general. 

<J Sitting with heels on floor and toes turned 
up. 

*J Sitting with toes turned in. 

<1 Sitting with one foot turned to one side 
(on outer side). 

<1 Sitting with feet cramped around each 
other. 


“ tijmu U/0 S’it ” 


q Sitting with knees far apart. We so often 
see this most unbecoming position. 


q Sitting with relaxed abdomen. 

q Never bend the spine, but bend body from 
hip joints; the joints are for that purpose. 

q Preserve the natural curve of the spine. 


q Don’t sit on bones, but on the muscles. 




mu tu ®alk 







I 






“i?mu $0 QIaiU 


GOOD voice is the right of every 
individual. 

The Greeks looked upon good speech as a 
fine Art, and a necessary part of one’s train¬ 
ing. 

America finds herself noted for her dis¬ 
agreeable voices. This condition is to be 

deplored, both from a standpoint of health 
\\ 

and culture. Having ears t we hear 
not, or surely we would not accept the noises 
of our speech; the lack of sensitiveness to 
sound is today rather a rule. 

One understanding the voice need never 
make a mistake in the character of the in- 




" ffiont an aalk ” 


dividual, as every thought and act is regis¬ 
tered in the human voice. Just as we can 
judge the disposition of the individual by 
the expression of his face so the voice is a 
greater register. If the face and dress are 
indicative of character, voice is of greater 
significance. As so often stated, the eyes 
are the mirror of the soul, but the voice is 
the expression of the soul. 

The speaking voice has been very much 
neglected; people spend money on the sing¬ 
ing voice, but the voice we depend upon for 
everything is generally neglected. Voice 
education is absolutely necessary. By voice 
education I do not mean elocution or dra- 


~ Siam 2 a 2alh ” 


matic art, but just the speaking voice; I 
mean the word shaped and spoken in har¬ 
mony of beauty instead of discord. 

A rich, silver toned voice is never found 
in a diseased body, or individual of impure 
thought^ and action. 

In speaking, the proper moulding of the 
word is of the utmost importance. Few peo¬ 
ple bring the jaws and lips into their proper 
use in speaking, and are therefore, gen¬ 
erally misunderstood. 

How often we hear the nasal tone, the 
hard, harsh voice, or worse still, that soft, 
soapy, mumbly voice, or a grating, snapping, 


“ Stmtt on (lalk 

biting voice, or that high, silly voice; all of 
which keeps one in constant discord, and is 
a menace to health and happiness. 

If the voice is left to operate without con¬ 
trol, it expresses itself most any old way. 
Most people take more care of an ordinary 
machine than they do of one of the most 
precious things in life to them—their voice. 
If the instrument gets out of order they do 
not know how to again adjust it, and will 
not take the time and money to go to some 
one that does know. 

I have met so many people who were 
wrecks because of a bad voice. People 


" ®xnti <Eu Salk ” 


would say, “Why, she is so ugly and cross,” 
or, “such a terrible back-bitting creature,” 
and, of course, let the poor thing alone, when 
the only trouble was a misplaced voice. 

I could go on writing forever on this most 
important subject, but will only mention 
some of the most vital points in this article. 

What is more beautiful than a good voice, 
either speaking or singing. Everyone loves 
to listen to that rich, smooth, silver-toned 
voice that can be heard at great distances, 
and again, shaded to the softest whisper, or 
sent into a roaring sound that can be com¬ 
pared with the terrible roaring of the ocean, 


“ l^mu (tn Ctalk ” 


and then again changed and compared to the 
sweetest twittering of the birds. 

We all love the sweet laugh better than 
that terrible hard ha! ha! 

All voice and breath should be controlled 
by the abdomnal diaphragm muscles. 

The head is the sounding board, and holds 
a$|the keys of the instrument, as compared 
with the piano. 


" ®mu Eu Ealk ” 


THINGS NECESSARY FOR A GOOD 
VOICE 

Proper breath—breath control. 

Proper position and movement of the 
organs. 

Proper vocalization of the vowels and con¬ 
sonants. 

Proper pitch, range and flexibility. 

Proper tone, quality and force. 

Proper emphasis and grouping. 

Proper thought and emotion expression. 

Proper melody and cadence—the melodi¬ 
ous voice. 


" limit <2>n (talk ” 


WHAT TO A YOU) 

q improper speech. 

*3 Defects of the voice. 

*1 Stuttering and stammering. 

*3 Improper hygiene. 

Improper position of the organs and move¬ 
ment. 

<3 Improper range and flexibility. 

*3 Improper tone and quality. 

*3 Lack of force. 

Lack of thought and expression. 

9 Lack of emphasis. 

Lack of pitch, degree, change, melody and 
cadence. 

*1 Lack of quality and proper combination. 
*3 Lack of rich, pure tone. 


“ ffimu So Salk ” 


FOUR DEFECTS COMMON TO THE 
UNTRAINED VOICE 

Aspiration—The unvocalized breath es¬ 
caping*. 

Throatiness—Caused by strain of vocal 
organs and throat cavities. 

Nasality—Allowing the tone to resound in 
the nasal cavities. 

Orality—Directing all the tones to the 
front part of the mouth. 

The average voice is not placed or oper¬ 
ated properly. It is usually operated by 
muscles of the throat instead of abdominal 
diaphragm; also improper jaw and lip ac- 


Hjmu an (talk 


tion. This voice will not carry any distance 
and is usually misunderstood. 

The mouth is the shape form, or mould; 
we, therefore, must have the proper mould 
in order to produce the proper sound. 


Sul r:- 

Take a deep breath, then speak the word 
firmly but gently, not allowing any air to 
escape while saying the word; keep talking 
and breathing at the same time, catching 
the breath between words, or just as you 
open the mouth to say the wordjfontrol voice 
with abdominal and diaphragm muscles; 


“ $imn (Tu (Talk ” 


keep throat open and send sound out firmly 
but gently. # 

Vocalize all the open sounds, the vowels; 
then consonants, which are the closed sounds. 
Vowels are made with open mouth, the first 
three, a-e-i, showing the teeth, and the other 
two, o-u, with the lips covering teeth. 

Think and place the tone. 

Using the vowels, a-e-i-o-u. 

Speak firm, yet easy, hold every tone. 

Then use the consonants, closed sounds. 

Place them just above upper teeth and 
close lips and hum, hold even; and so on, 
shaping, sounding, etc., according to place¬ 
ment. 


Vont iIn (talk ” 


Exmton 

Count from one to one hundred. 

Vocalize a-e-i-o-u. 

Use Poe’s “Bells.” 

Vocalizing on pitch, using vowels. 

Pure tone. 

Vocalize a-e-i-o-u, which are the open 
tones; place them just above the upper 
teeth, between teeth and gums. The throat 
should be relaxed and open. Be sure to use 
the lips in forming the words; use he he, 
ha ha, ho ho. Be sure and control all voice 
action with abdomen and diaphragm mus¬ 
cles. 


“ ijmu Sn Salk *' 


After practicing these exercises until you 
can say them properly with open free throat 
and proper placement and diaphragm con¬ 
trol, BE SURE THAT THE ACTION IS 
PROPER, then speak every word properly 
—I mean the words you use in daily talk. 

ALWAYS SPEAK WITH MEANING EVEN TO YOUR 
DOG. 

“fp are tlte utetnpRo of (goft” 

Shnt Irt mr an gaarh tljat Sinuplr tljat mljiut 
tljp hatjr of judgment nmwa tljat 3 mag tain* 
tljat Qfempl? ta ljia Wajpatg, Wljfllr, Oilman anh 
UnaaljamrA 







MN SC 1912 































One copy del. to Cat. Div. 


30 









